There is no date in the booklet, but the book referred to, which was published in 1897, is described in the heading as ‘now ready’.
The letter includes a photograph of the interior of the church, and is subscribed by J. Gilbert Dixon, vicar, and Arthur Barrett and Arthur Rutter, churchwardens. At the foot has been added by hand, ‘Upwards of of £50 have already been subscribed’.
The heading is, in capitals, ‘The Stained Glass of the Great West Window, King’s College Chapel, Cambridge, by John R. Clayton and Alfred Bell.’
'Plantago cynops... Celastrus scandens'.
Sans titreTranscript
Trinity Lodge, Cambridge
March 10th 1891.
My dear Librarian,
I have the pleasure of sending you, in a truly splendid dress, the Autograph Score of Doctor Hubert Parry’s “Blest Pair of Sirens.”
I am to-day writing to thank him for his generous gift, which was formally accepted by the Council last Friday {1}.
The letters of Doctor Parry and Professor Stanford {2}, which I enclose, will, I trust, be preserved.
Believe me to be
Most truly yours
H. Montagu Butler
—————
{1} 6 Mar.
{2} The other two letters pasted into this volume.
Transcript
Royal College of Music, Kensington Gore, London, S.W.
My dear Charlie
You told me some time ago that I should be doing nothing amiss if I offered the original score of my setting of Miltons Ode “Blest Pair of Sirens” to be deposited in the Library of Trinity—An honour I should not presume to think of on my own account. I have had it put into a coat probably more worthy of such a position—as coats go—than the work itself, & confide it to you as its best possible godfather. Which you have been from the beginning!
Ever yours
C. Hubert H Parry
Transcript
10 Harvey Road | Cambridge
March 2. 1891
My dear Master,
I have the pleasure to send you with this the original autograph score of Hubert Parry’s ‘Blest pair of Syrens,’ which he wishes to present to the College for the Library. It struck me some time ago that as the College possessed the Manuscript of the poem, {1} it would be of interest & of value to them to possess also the original of the magnificent musical setting. Parry was, as is his nature, most unwilling at first to do anything which looked (as he put it) so “bumptious,” but I quieted his qualms on that point.
I send you herewith a letter {2} he wrote to me asking me to forward the score to the Council, & which, as it is really addressed to them altho’ through my mediation, I should be glad, if they wish, to leave in their hands.
Believe me, my dear Master,
yrs very truly
C V Stanford
—————
{1} R.3.4.
{2} Parry’s letter of 28 Feb., also pasted into this volume.
Magdalene College, Cambridge. - Sends his father's Fellowship examination papers; 'One of them seems to be the actual paper shown up, the others I suppose the rough copies? They seem to have been preserved by Mr Martin, & are annotated by him'; explains that Martin's niece [by marriage] has just sent them to him. Is just going to spend Christmas with his mother; wishes Butler and his family 'a happy Xmas & new year'.
Headed mourning notepaper, 75 Portland Place. - Sends the enclosed [E. W. Benson's Fellowship examination papers]; found them with papers belonging to her late husband, 'who had them from his uncle the Rev. Francis Martin'. Also feels she 'must tell' Benson how much pleasure she has from his writings; the latest, At Large, 'appeals to me as one of the most beautiful things I have ever read'.
'The Papers done by my father, Edward White Benson, afterwards Archbishop of Canterbury in the Fellowship Exam[inatio]n at Trinity in 1852 given me by a niece of Mr Martin's. A. C. Benson. Dec 12, 1908.'
(The index lists the names and degrees of the writers of the contents. It includes the name of J. Cumming (BA, 1801), but there is no declamation by him in the volume.)
Paris.—Sends him a copy of the discourse he addressed to the general assembly of the Beaurepaire section (of Paris) on 25 Dec. 1793 (see ff. 1–7 below). Has sent a copy to the Committee of Public Safety, offering his services to the committee as a political agent in America, Gênes, Venice, or the Swiss cantons. Asks his correspondent to support this proposal if he has occasion to speak to any member of the committee.
(Inscribed ‘From the Author’. There is no fellow or tutor of Trinity named John Jones. The subject of the elegy is presumably Thomas Jones, who was a tutor at Trinity from 1787 till his death in 1807, though he did not achieve the degree of BD.)
MS note in hand of G. M. Trevelyan below the letter: 'Letter of T. B. M. to his sisters in England from India May 9 1836. The 'baby' is Margaret Trevelyan his niece'.
Sans titreFirst line: ‘There is a Pair, I’ll spare their name’.
—————
Transcript
A Rebus
There is a Pair, I’ll spare their name,
Not to create Offence,
Who for their noise, & evil fame
Have long been banish’d hence.
Many by this accursed Pair
Have been to ruin brought,
Stript of their Lands, & Mansions fair,
And left not worth a Groat.
But when two Pair of such appear,
As t’were† in Reason’s spite,
They captivate each list’ning Ear,
And every Eye delight.
Ye sprightly Swains, & Nymphs so nice,
I pray you let me know,
By what strange power from double vice
Can so much virtue flow.
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The indentation of the lines has not been reproduced.
† Sic.
First line: ‘Heard’st thou the tolling of yon fun’ral Bell?’ The title is written on f. 92v.
These leaves are paginated 39–40, 29–38, 41–64 in red pencil.
First line: ‘Where yon bleak mountain lifts its stormy brow’.
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Transcript
Elegy
Where yon bleak mountain lifts its stormy brow
With no gay flowr, no verdant herbage crown’d;
And frowning views the dashing waves below,
And flings a more than midnight horror round;
Oft would Amyntas to the desert steal,
Alone, unheard, to pour his sad complaint,
For such affliction did his bosom feel,
As Fancy’s strongest Colours cannot paint.
Oft would he mark pale Cynthia’s still career,
Or listen to the Screech-Owl’s midnight cry;
To night’s most mournful language lend his Ear,
On night’s most mournful objects fix his Eye.
Whe[n]e’er the Bell proclaim’d some shepherd dead,
Startling the ear of night with sudden sound,
“For me why tolls not now the Bell?” he said,
“For me why yawns not the funereal Ground?
Must I for ever life’s hard bondage bear,
Must I for ever stem Misfortune’s wave,
For ever drop Affliction’s bitter tear,
Denied the last sad refuge of a Grave?
In vain the youthful beauties of the Spring
Bloom in each flow’r, and bud on ev’ry tree;
In vain the Birds their sweetest Cariols sing,
Their sweetest Cariols, what are they to me?
While Delia liv’d, the blackest Sky seem’d fair;
Each storm was milder than the Zephyr’s breath;
She died!;—the softest gale that fans the air,
Now blows with keenest rage the blast of Death.
While Delia liv’d, how jocund pass’d the day;!
How sweet the fragrance of yon vernal Grove!
There as we fondly smil’d the Hours away,
Each thought was rapture, & each look was Love.
Her face adorn’d with every charm of youth,
Deriv’d no beauties from the hand of Art,
Her Tongue, obedient to the voice of truth
Spoke the untainted Language of the Heart.
O! ask each stream, near whose luxur[i]ant Side
On the soft turf reclin’d the Damsel sung,
O! ask each conscious Echo that replied,
And spread the warbled Music of her Tongue;
Were not her songs, my Delia’s Songs more sweet,
Than the pure morn’s most Aromatick breath?
Or when the Cygnet at the Call of fate,
With its smooth songs soothes the last Pang of Death.?
How sweet was praise by Delia’s Eyes bestow’d,?
(For ever could I dwell on Delia’s name)
What ardent transports in my Bosom glow’d,
For me when Delia own’d a mutual flame?
At yonder Shrine the nuptial knot was tied,
The Nuptial lay was sung in yonder bower;
And every Shepherd haild my blushing bride,
And praised those sweet perfections—now no more.
That breast is now inanimate, and cold,
That breast, which late with every virtue glowd;
Those fair limbs form’d in nature’s sweetest mould,
Are now infolded in the Sable Shroud!
Awhile the gayest scenes did fortune shew,
(Oh! fortune! fickle as he changeful wind!)
Then snatched the glittering Landscape,
And left a barren, trackless waste behind!
The Sun, which made the glittering Landscape bright,
And usher’d in with with† Smiles each chearful Morn,
Is now involved in universal night,
And lost in shadows, never to return!
I saw, (and do I live the tale to speak)?
Saw death oercloud the lustre of her Eye,
I saw him crop the roses of her cheek,
I hear’d her last groan, and yet forbore to die!
Oft have I wished to end this hated life,
And in the grave lay all my sorrow low;
Despair has often aim’d the lifted knife,
And Stern Religion oft witheld† the Blow.
Fly swift ye Lightnings, blast this wretched head,
No longer now the stroke of fate Delay;
And you, ye shepherds, mourn Amyntas dead;
And to his Delia’s tomb the Course convey.!
Thus on Earthes† lap, reclin’d the Swain forlorn,
Till Morning rose, and shew’d the beam of light,
Then quick returning from the ray of Morn,
Again he waited the return of night.
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There are no distinct spaces between some of the quatrains in the manuscript.
First line: ‘T’is not the season of the year’. The title and ‘By Miss – – – – – –’ are written on f. 83v. The verses are headed ‘By – – – – –’.
—————
Transcript
Written in the | Winter time | By Miss – – – – – – – {1}
By – – – – – –
T’is not the season of the year,
To write romantic Strains,
For now the Shepherds disappear,
And all the village Swains.
The poor within their Cots retire,
To shelter from the cold;
And crouding round their little fire,
Lament the age of Gold.
In Sympathy the flocks around,
Stand shivering as they bleat;
And lambs forget to skip and bound,
While chill’d with rain & Sleet.
The mountains thus o’erspead with snow,
No pleasing views display,
The little valleys here below,
Scarce feel the Sunbeam’s ray.
The herbage now is turn’d brown,
The trees no longer green;
Nature on all things seems to frown,
And quits the Sylvan Scene!
But when the cheerful Spring draws near,
The shrubs will then revive,
The flowers their beauteous heads will rear,
And bees begin their Hive.
The primrose will e’er long display,
On every bank its head,
The humble Daisy will each day,
Arise beneath your tread.
And Tulips next in gay attire
Their gaudy leaves display,
We all the varied hue admire,
Tho’ they no scent convey.
The purple violets then are seen,
And breath their sweets around;
With butterCups adorn the green,
And form poetic Ground.
The villagers their tasks resume,
And cultivate the soil;
The gentler sex attend the Loom
A less laborious toil,
And all the labours of the day
Are with the dawn begun,
The work beguiles the time away,
Untill the setting Sun.
When from the fields the joyous swains
With great delight repair;
Forgetting, as they leavees the plains,
All sorrow, and all Care.
The wives, expecting their return,
Prepare the homely bread;
The Cheese, and produce of the Churn
Are on, the table spread.
And now the slight repast prepar’d
They sll sit down with joy,
The youthful Couples then are pair’d
And dance the Hour’s employ.
While the fond parents with delight
Recal their former days;
Relating stories ’till the night
Her sable wing displays.
Then each returning to their Cot,
Enjoy a peaceful rest,
And all contented with their lot,
Are by contentment blest.
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The indentation of the lines has not been reproduced.
{1} These lines are written in a different hand on the page facing that on which the verses begin.
First line: ‘Then farewell! lovely Nancy!’
—————
Transcript
Sonnet
Then farewell! lovely Nancy,!
Farewell to love, and you:
And farewell! flattering Fancy!
Which bade me first pursue.
She drew thee fair and smiling,
Soft pity in your Eye;
And with fond hope beguiling,
She told me, Bliss was nigh.
Still wishing for tomorrow,
I sigh’d from day to day:
But found at night, that sorrow
Was all the Lover’s Pay.
The heaving sigh to smother,
To stop the gushing tear,
To see thee bless another,
Is more than man can bear.
Then farewell! lovely Nancy!
Farewell to love and you;
And far[e]well, flattering Fancy,
Which bade me first pursue
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The indentation of the lines has not been reproduced.